6.7/10
7,265
40 user 49 critic

Who's That Knocking at My Door (1967)

I Call First (original title)
A young man struggles with the fact that his girlfriend was once raped.

Director:

Martin Scorsese

Writers:

Betzi Manoogian (additional dialogue), Martin Scorsese

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1 nomination. See more awards »

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Director: Martin Scorsese
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Cast

Cast overview, first billed only:
Zina Bethune ... Girl
Harvey Keitel ... J.R.
Anne Collette ... Girl in Dream (as Ann Collette)
Lennard Kuras Lennard Kuras ... Joey
Michael Scala Michael Scala ... Sally Gaga
Harry Northup ... Harry
Tsuai Yu-Lan Tsuai Yu-Lan ... Girl in Dream
Saskia Holleman Saskia Holleman ... Girl in Dream
Bill Minkin Bill Minkin ... Iggy at Party
Philip Carlson Philip Carlson ... Boy in Copake (as Phil Carlson)
Wendy Russell Wendy Russell ... Gaga's Girl
Robert Uricola Robert Uricola ... Boy with Gun
Susan Wood Susan Wood ... Girl at Party
Marrissa Joffre Marrissa Joffre ... Girl at Party (as Marrisa Joffrey)
Catherine Scorsese ... Mother
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Storyline

J.R. is a typical Italian-American on the streets of New York. When he gets involved with a local girl, he decides to get married and settle down, but when he learns that she was once raped, he cannot handle it. More explicitly linked with Catholic guilt than Scorsese's later work, we see what happens to J.R. when his religious guilt catches up with him. Written by David Gibson <djg@ukc.ac.uk>

Plot Summary | Add Synopsis

Taglines:

Mean Streets was just around the corner.

Genres:

Drama | Romance

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

13 September 1968 (USA) See more »

Also Known As:

Who's That Knocking at My Door See more »

Filming Locations:

Netherlands See more »

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Box Office

Budget:

$75,000 (estimated)

Cumulative Worldwide Gross:

$16,085
See more on IMDbPro »

Company Credits

Production Co:

Trimod Films See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Harvey Keitel's first credited screen role. He would go on to work with Director Martin Scorsese five more times. See more »

Quotes

[repeated line]
J.R.: I called first!
See more »

Connections

Featured in Ebert Presents: At the Movies: Episode #2.19 (2011) See more »

Soundtracks

Shotgun
(uncredited)
Written by Junior Walker
Performed by Jr. Walker and the All Stars
See more »

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User Reviews

 
What it does do, it does very well
13 December 2009 | by bob_megSee all my reviews

This is a hard movie to review because it's essentially an amalgam of several different shorter student films, and some work better than others.

That said, at the crux of "Who's That Knocking at My Door" (the final mass-released version) is a complex character-study laden with Catholic guilt and burdened by all the inherent stigmas and traditions of growing up Italian-American.

Obviously Scorsece knew his source material very well. More than half of the players and virtually all the locations come straight from his own life. What's really cool about the film, though, is how honestly he portrays these sociological nuances. He doesn't tell you Keitel's character's views and attitudes are good or bad, they just "are" --- and it's obvious how the character developed them from a peek into his everyday world.

This bracing honesty is the most appealing thing about the film, along with some drop-dead gorgeous camera work and editing featured here. The first scene where Keitel meets Bethune on the ferry has got to be one of the most imaginatively-shot and enthrallingly staged boy-meets-girl moments on celluloid. Throughout the film, Scorcese overlays soundless scenes from the past and future, creating interesting juxtapositions, always engaging and challenging your perceptions.

With a lot of debuts there are missteps. I don't think that fairly characterizes this movie however. There are definitely parts that drag and don't work well but seen in the context of a shorter film, they would have been more effective. As they're all blended together here, the pacing sometimes suffers.

It's hard to imagine any of the fans of Scorsece's later works, which rely so heavily on hyper-real camera-work and tightly-structured story lines, to have the patience for "Who's That Knocking." But for those who really enjoy the thoughtfulness, subversiveness, and subtext of Scorcese's films, it's a treat to see their origins so prominently displayed.


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